( English / 繁體中文 )
We had rehearsed all but fights scenes in the studio version of the adaptation when the school shut down. That said, we had done all the table work including world building, character work, scene study, and had got on our feet in the studio.
The central questions I was trying to ask thorough this adaptation are:
Is democracy/honor worthwhile?
I have to admit that I’m not so sure how much that was shown in the final presentation as I felt being shafted by life every now and then and was very occupied by how to make the performance possible. That’s also why I kept all the crowd scenes in the studio version (though I did trim some of them.)
The only scene I cut when adapting the studio version to the online version is the last scene of Act III, where citizens tear Cinna the Poet even though they know this is not Cinna the conspirator. As the presence of the crowd is at the center of my vision for Julius Caesar, this is one of the most important scenes I wanted to keep. Then again, I couldn’t think of a way to translate the fear generated by physical violence into a virtual platform and I also felt that funeral scenes and the presence of live-chatting audiences actually did the job for what I aimed for Cinna the Poet scene and thus I gave up on it.
The visual research I did help immensely in this process. The purple I used in the live stream is also the theme color for the studio version. Design-wise, I was envisioning an environment full of balloons and the whole play begins with a feeling of a manic party is taking place. This is a world where people don’t have a shadow of doubts that their normal could change at any moment. Great persons make decisions behind closed doors that could affect all lives while all people want is to grasp any reason to celebrate. I kept this concept for the online version.
One thing that is worth mentioning is that this is an all-women Julius Caesar Adaptation from the very beginning. I have to think more about how to articulate my reason for this choice, but for now, I’m just saying that I’ve been in many situations when all people in the room who made decisions were women and I could hardly envision this play otherwise.
此外，這是一個全女演員的製作。對於做這個決定的理由我在 06 會比較詳細解釋，但簡單來說就是我無法想像如果所有角色都不是女人的話我會怎麼導。在我心目中、在我改編《凱薩大帝》的時候，我對所有角色的想像都是生理女性。